Reissue of their third album (1982) with threebonus tracks, 'Blast Off', 'Release The Bats' and the secondversion of 'Dead Joe' recorded in London with a car crash.Other 10 tracks: 'She's Hit', 'Dead Joe', 'The Dim Locator... more »','Hamlet (Pow, Pow, Pow)', 'Several Sins', 'Big-Jesus-Trash-Can', 'Kiss Me Black', '6' Gold Blade', 'Kewpie Doll' and'Junkyard'.« less
Reissue of their third album (1982) with threebonus tracks, 'Blast Off', 'Release The Bats' and the secondversion of 'Dead Joe' recorded in London with a car crash.Other 10 tracks: 'She's Hit', 'Dead Joe', 'The Dim Locator','Hamlet (Pow, Pow, Pow)', 'Several Sins', 'Big-Jesus-Trash-Can', 'Kiss Me Black', '6' Gold Blade', 'Kewpie Doll' and'Junkyard'.
"Long day at work? Pop this one in, lean back, and let the unwinding begin... Nick Cave and the lot were some of the mellowest figures in the punk scene those days. This one's way up there with the likes of Kenny G as far as I'm concerned."
A musical junkyard crammed with ups and downs
yorgos dalman | Holland, Europe | 07/02/2006
(4 out of 5 stars)
"This Birthday Party's third and most notoir album literaly "Blasts off" with total noise, psychotic drums and screaming guitar terror; but then again, it's an LP that is made by a no-holds-barred punk act that's more of a crazed, insane lost-in-the-jungle war ensemble on the loose.
The songs TBP produces can be described best as "well structured chaos". It's fullblown punky mess, but with a mind behind it. Songs like "Six inch gold blade" and "Kwepie doll" are thunder without much point and probably will do nice on stage during cheap, messy, smokey, claustrophobic late night gigs.
"Dead Joe" and "Dead Joe (2nd version)" tell about a car crash and the songs sound just like one. "Hamlet (Pow pow pow)" takes on the graveyard scene from Shakespeare's legendary theatre play and "Several sins" stands out as a kind of eerie but beautiful "punk ballad".
The title track "Junkyard" is maybe the best song TBP ever cried out, with sneering guitars, up and down tempo, and singer Cave's dark voice, sometimes lowkey, sometimes highpitched screaming, perfectly in place. "Release the bats" is more of the same well-formulated chaos but with a catchy base drum by Mick Harvey that's really on a role.
I confess that TBP's first to albums "Hee-haw" and "Prayers on fire" didn't really got to me. Fifty percent of "Junkyard" did in a main way, just as the following (and last) TBP album "Mutiny / The Bad Seed" did.
In some ways, even more. TBP was really growing and maturing (which is really some kind of paradox: I always felt that punk music was mainly created to rage against maturity and the world of oppressing adults) and one would be curious what should have become of this nasty little Party had they not fall apart soon after release of "Mutiny / The Bad Seed".
Morton | Colorado | 01/04/2009
(4 out of 5 stars)
"The Birthday Party-Junk Yard ****
To be blunt, The Birthday Party really doesn't fit into any genre, you can't pigeon hole the guys. Born out of the post punk era, but also the new wave, and also the Gothic wow is me via the Cure and Bauhaus, with just a splash of hardcore before it was actually called that The Birthday Party was Lucifer's favorite rock n' roll boyfriend Nick Cave's introduction to the world. What a great one.
To simply choose between the Birthday Party and The Bad Seeds would be impossible. This was the much younger, much more angry, far less poetic Nick Cave.
Junk Yard is possibly the groups greatest achievement. Aside from their brilliant live albums this takes the cake. In a nut shell, if you were to place this in your record collection it would destroy just about every other album in the lot, an along side any other album from 1982, they all sound dull.
Tracks like 'Dead Joe' 'Blast Off' and the closer 'Release The Bats' are both haunting and overpowering at the same time. Cave's growl mixed with the music of one of the greatest backing bands in history make for one of best albums of the 1980's and of all time.
Eventually Birthday Party would break and Cave would move to Germany and form The Bad Seeds, but it is Junk Yard that still to this day remains Caves most honest and unmerciful work."
I am the King
Jonathan Dedward | Nowheresville, Slothwestern North America | 06/04/2008
(5 out of 5 stars)
"The Birthday Party were an angry, spiteful band. After recording bluesy, experimental punkish dirges on their first album, they birthed Junkyard into the world. As important as it is, Junkyard is a hard album to really like. As stated before, the production values are non-existent. Junkyard is a nightmare... not in some elegant Gothic way, but in a very Lo Fi anti-music, piss-off the fans kind of way.
For one thing, throughout Junkyard the guitars sound all wrong. Very often in editorial reviews hard guitar riffs are described as "metallic" and sometimes critics wax poetic, describing a particularly punishing guitar as being "strung with barbed wire." Here, however, the guitar sound is so tinny and metallic and pitched so high that those cliched descriptions actually apply... it's a horrid squealing sound, especially on songs like Hamlet(Pow Pow Pow) where the guitars actually blend with brass horns. Disconcerting is the only way to describe it. Nick Cave's powerful voice, the focal point of the band, is a mostly yammering, roaring, snarling, brainless mess. The lyrics, (example: "yack..yack...yackyackyack yack goes junkface") are rambing, drug addled nonsense. Nonsense! There is scarcely a hint of melody to be found anywhere on the album. The songs rhythms are unconventional. You like music catchy? Move aside, grandma.
The only thing, and I mean ONLY thing grounding these "songs" is the bass, played by the incredible gyrating showman Tracy Pew. If you pay attention to the low end, the rumbling bass provides the arresting appeal of songs like the title track... especially its cataclysmic ending. Songs like "She's hit" "Blast off!" and "Dead Joe" rumble powerfully, but I have to admit, none of them are particularly appealing in any musical sense. "Release the Bats," perhaps the band's most famous single, as well as the best produced track on the cd release, was a song the band conceived of as a humorous send up of the Goths that seemed to follow them.
So why do I like this? This album is startlingly original. It's offensive, confrontational and mean. The songs vaguely describe drug addiction, murder and depravity in poetic, open and creative ways. For the right kind of listener, this is downright inspiring. This isn't some talentless band hacking together "shocking" music for attention, this is a highly disciplined, literate band (try listening to a 17 year old Nick Cave singing "Shivers" and then tell me these guys can't play classically) composing trashy punk that radiates contempt for their own peers, audience, and genre... it's a band being themselves, destroying everything and yet remaining musicians. I enjoy this record, and I return to it again and again, because it somehow just feels right, somehow. As ugly and inaccessible as it is, it makes me proud of them. Nick Cave and Tracy Pew, Rolland Howard and Mick Harvey have carved their legacy into the music of today. This fact is not debatable. The Birthday Party broke up soon after I was born, and yet bands as recent as The Horrors (these old-school guys are younger than I am!) reflect their influence. I admire the hell out of the Birthday Party. Their music is brutal, vicious and uncompromising. I can't defend their stuff very well to those who don't get it, but man... I love it."